Mikio Yamazaki

Kumi lives a hippie-like life in Tokyo's outskirts. One night while drunk she stumbles into an abandoned industrial site, except in addition to deserted factories, it is full of forests and greenery. She decides to move there, even further away from the civilization she had already left.

A short experimental film based on footage shot in 2020 that was left unedited for years until the director finalized it as a digital release in 2026. While Mikio Yamazaki originally intended to compose the film's soundtrack himself, he eventually abandoned the idea and instead featured tracks by the popular Indonesian pop singer Happy Asmara.

VIDA, starring AV actress Hotaru Hazuki, is an erotic work aiming directly at the Hypothalamus. DEATH is an event that makes life emerge in a different language. The film was entirely self-developed at home

A documentary that centers on filmmaker Mikio Yamazaki, exploring his artistic vision and his feelings towards 8mm film, the primary medium of his work.

This is a feature-length work that combines the short stories "Night Palm Forest," "Red Bat Girl," "Night is Coming Soon," and "Kiri Rider" with "Mercury Heart" (starring Yu Arai) which was created as a summary. The music that had been used in the short stories up to that point ("Kiri Rider" was left as it was) was replaced with Emerson Kitamura's music.

No synopsis available yet.

Kumi lives a hippie-like life in Tokyo's outskirts. One night while drunk she stumbles into an abandoned industrial site, except in addition to deserted factories, it is full of forests and greenery. She decides to move there, even further away from the civilization she had already left.

A short experimental film based on footage shot in 2020 that was left unedited for years until the director finalized it as a digital release in 2026. While Mikio Yamazaki originally intended to compose the film's soundtrack himself, he eventually abandoned the idea and instead featured tracks by the popular Indonesian pop singer Happy Asmara.

This is a feature-length work that combines the short stories "Night Palm Forest," "Red Bat Girl," "Night is Coming Soon," and "Kiri Rider" with "Mercury Heart" (starring Yu Arai) which was created as a summary. The music that had been used in the short stories up to that point ("Kiri Rider" was left as it was) was replaced with Emerson Kitamura's music.

No synopsis available yet.

8mm work from the 6th Pia Film Festival.

A self-produced feature film. The main character, an 8mm filmmaker, has a bronze statue of the goddess of 8mm movies in his home, and he always prays before filming, and when editing, he places it above the viewer to be watched over by the goddess. He is a devout believer who goes about his work. One day, the goddess appears in his dream, complains to him about the plight of 8mm film, and orders him to independently produce 8mm film.

This is an 8mm film shot and edited from 1996 to 1999. There is no story development like a normal story movie, and the image of only the author = the hero like a diary movie continues. There are no lines. The heroine-like existence is a dingy female stray cat. Still, I tried to brew and elaborate how to make a movie time of about one hour, like walking a tightrope, but over a long period of time. As a reference motif, there is Isao Yamada's early work "Yomado". The title "Gootariputra" is not a word with a specific meaning, but is just a coined word of Lazy way of life.

It consists of two repeated images: a scene of cutting the back of a hand with a utility knife and blood oozing out, and another one of a man being slaughtered at the beach.

8mm short film by Mikio Yamazaki.

In April 1985, I started to make a film with my friend Kamioka as the main character. But even after three months, the whole film was still unknown. I started to work alone with the camera. One day, the rabbit he keeps at home gives birth to a stillborn baby. As he buries her under a tree in the garden, it made me think of his father, who died the year before. He is no longer with us, but only the gaze he left behind. And so I set off on a journey. In a town in the Hokuriku region, he met a woman who once appeared in one of his films. When I dozed off on the train to Tokyo, she appeared to me in a dream and tells me that I will soon find the exit. Back in Tokyo, I told Kamioka that I'm going to start filming again. I came back into the room, turned on the microphone and pressed the flame against the lens.

The dialogueless journey of a carjacker, his young lover and the doll she created, in a world made of city ruins, blue dawns and red dusks. The film material was originally shot in 1998 on 8mm and later blown up to 16mm. Ever since, as the colour dyes faded and the years passed, the film hadn't been edited into its final form. Almost 30 years later, "Like a Heavenly Edge" was screened publicly for the first time at LA CAMERA in Shimokitazawa.

No synopsis available yet.

Rukani (Yamazaki), a middle-aged man with a cosplay fetish, tries to shoot an adult video featuring a woman named Karinpa (Komoda) as his model. However, whenever things start to get erotic, a mysterious red bat suddenly appears out of nowhere and gets in the way.

Stop-motion footage of moving clouds and the passing of the sun.

One shot from inside a moving car and the other showing a vague image of a boy and girl playing in a cluster of light spots spinning around like a galaxy. Accompanied by short monologues, cheap keyboard music and even the soundtrack of a scene from an old Japanese movie.

No synopsis available yet.

Unidentified people appear around the protagonist, Mr. M. No matter how many times he wakes up, he cannot escape from his dream. In a speeding, deserted subway, Mr. M falls asleep again. This is Yamazaki's second work in his filmography. Reflecting on the fact that his first 8mm drama, "The Melancholy of Poplar Trees," was less than a school play, he decided to make this film to see how much he could do within his own field of expertise. He unashamedly quotes various films, including Masanobu Nakamura's "Autumn in Beijing". An interesting precursor to his works " Anti-Interpretation" "Memories of the Seaside," and "Ghosttown at Dawn". This filmwork won the Student Encouragement Award at the 1980 Fuji 8mm Contest.

No synopsis available yet.

No synopsis available yet.

One day, middle-aged man Estan meets Nui, a woman who has lived for 20,000 years. The mysterious journey of Nui and Estan begins, using arrowheads to collect the emotions of humans in the past.

The “Gamuze,” “Namara,” and ‘Dahan’ are frequently seen in this work, which were produced in collaboration with the "Katsuura Revolutionary University Video Course Practicum. These works were created in a video workshop called "Katsuura Revolutionary University Video Lecture Practicum.　The idea for these works came from the experience of “Video Renka,” and after thinking about how to make them more interesting by imposing stricter conditions, I came up with three different concepts, which I named “Gamze,” “Namara,” and “Dadan,” respectively.

The original format is 8mm film (single8), and once the developed film is incompletely layered on the undeveloped film, it is projected onto a curtain swaying in the wind by shining light at an angle with a penlight. Created an effect.

The scene I shot from my hospital bed when I was hospitalized with a punctured lung (a condition called spontaneous pneumothorax). A snowstorm outside the window. A wristwatch that had stopped working. An apple that looked strangely vivid. Tubes connected to my body. The bodily fluids inside them.

As part of the street observation work, I was working on collecting and arranging the number of the beast 666 in the city. Then, I realized that it was boring and decided to return to the drama for the first time in a while. Chepki, a woman who investigates the lot number where 6s are lined up, and Lucani, a middle-aged cosplay fetish man who is a driver while questioning the certainty of her head. The strange behavior and behavior of the woman finally leaves the woman behind in the river. At the base of the motif is Ferrini's "Michi".

A wanderer and his son arrive on an obscure northern island of Japan, causing the village of Pu to fall into disarray.

A wanderer and his son arrive on an obscure northern island of Japan, causing the village of Pu to fall into disarray.

The concept of "Rest In Eternalism" was to closely examine and photograph the things I encountered while traveling, so I thought about what would happen if I tried photographing one place thoroughly. I focused on the alleys I had discovered during the filming of my previous works.

So, what exactly were we doing with this work? To put it simply, we tried to see if we could do something similar to musical improvisation in film.In musical improvisation, some performers play instruments, others voice, and sometimes even dancers join in, creating a unique expression through the collaboration of these expressive acts, which could be described as a kind of friendly competition on the spot.In film, there was a "convention" to construct a work based on a "blueprint" called a concept, whether it was a scenario for a commercial film or an experimental film.This film is an attempt to break away from that style, and together with the staff and actors with whom I have worked on several other films, I explored a free jazz-like approach to making a film through a session.I didn't want to keep shooting indefinitely, so I decided to shoot from March 1st to March 10th, 1984.

We gathered at the Shinjuku Sports Center, located between Shinjuku and Takadanobaba. It was just before the “Great Funeral Reception” of the Emperor Showa after his death, and the police were on high alert. Of the 12 participants, 6 were former members of the video street gang. Of the 12 participants, six were former members of the video street gang, and another six were from Hokkaido, so it was an uneven training session. I was also very hungover and spent most of the morning in the bathroom throwing up all over the place, which was a big turn-off for me.

The event was held at Shakujii Park in Nerima Ward, Tokyo. As a new twist, I scribbled graffiti and put red star stickers all over the route in advance. Some of them were completely ignored, but others were photographed by several participants. Kamioka brought a radio, Oguchi a Rika-chan doll, and Kaneko a video camera with an LCD monitor. Suzuki also had his child captured on film in advance. But it was Ishii who excelled, shooting the same things as the other participants, but somehow standing out as the most beautiful. I thought that the goddess of 8mm film was smiling on him alone.

No synopsis available yet.

This is a small piece that I shot with a Fujica P300 equipped with an auto fader, repeating the fading in and out on the light and shadow in a room at a regular rhythm.

This is a film about a medium approaching extinction, an 8mm documentary film about a vanishing 8mm cinema. Blending two genres, the science film and the personal film, and benefiting from the participation of multiple generations of cineastes, it is a reflection upon the original cinematic experience.

As Godard said, a film is made up of "images and sound," but inevitably the images tend to be primary and the sound secondary. In order to break this and make the sound (in this case the words) the primary focus, I came up with the idea of ​​using footage shot with the lens removed.

No synopsis available yet.

The title is a combination of "I want to meet you" and "靉靆 (the flow of clouds, or a lens)". A kind of fake work using old film shot 10 years after its expiration date. However the "film you don't know who belongs to" that is inserted in the middle is real. ​A living story that could only be realized through film. Due to the death of Kamioka, who shot most of the film, the decision was made to leave the footage alone and completely replace the monologue.

Kajol is a star actress in Indian movies. I discovered a strange scene when I was watching a video of a movie she was in. In one scene of a musical, Kajol throws a dove into the sky, which then falls to the ground. This would not be OK on a Japanese movie set. So I thought about the differences between Indian and Japanese movies. By the way, I read in a book that there is a goddess of cinema in India. I guess she protects Indian movies. So, is there no god of cinema in Japan? Oh, but not of cinema, there is a god of dance. I started writing a screenplay with this goddess, Ame-no-Uzume, as the main character, but the Yatagarasu, the guide for nation building, fell to the ground, and the story ended happily.

No synopsis available yet.

A short film made as a prologue part of "Deep Sweets Senior".

The title means "key" in Hokkaido dialect. The man runs out of the room and attacks the children playing, but the microphone is snatched away by the girl. If the microphone is a symbol of the penis, is the act of putting the microphone in his mouth at the end a form of self-fellatio?